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The IUP Journal of English Studies :
Masculinity Subverted and Redefined in the Works of Mahesh Dattani
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What do we mean by masculinity? Is it synonymous with the social construct of maleness? Or is it a more diverse and complex psychological process that differs from time to time, person to person and region to region? Perhaps there can be no fixed paradigm of masculinity and hence what is considered as being masculine in one culture may not be so in another. This is best exemplified in the plays of Mahesh Dattani (1958- ), the only Indian dramatist in English to have won the prestigious Sahitya Akademi Award. His plays not only subvert but also demand a new definition of masculinity that goes beyond the traditional tenets of patriarchy. This paper compares and contrasts some of the key aspects of manliness in Western and Indian cultures through the dramatist’s three plays Dance Like a Man (1989), Seven Steps Around the Fire (1998) and On a Muggy Night in Mumbai (1998).

 
 
 

Well the basic rules of manhood, if I were to put them this way are no sussy (sic) stuff, that’s the first rule. You can never do anything that even remotely hints of femininity. The second rule is to be a big wheel. You know, we measure masculinity by the size of your pay check, wealth, power, status, things like that. The third rule is to be sturdy oak. You show that you’re a man by never showing your emotions. And the fourth rule is Give ‘Em Hell. Always go forward, exude an aura of daring and aggression in everything that you do. And this model of masculinity has been around for an awfully long time. But consistently it’s been eroded by a lot of other things.

This idea of masculinity is well represented in Mahesh Dattani’s Dance Like a Man where Amritlal’s obsession of making a ‘man’ out of his son, Jairaj, destroys not only the latter’s career but also leaves an indelible mark on his personality. Such rigid demarcations of the masculine and feminine are in sharp contrast to the ancient practices of Hinduism which provides ample instances of gender fluidity among deities. For instance, Ardhanareeshwara, which is an androgynous form of God Shiva and Goddess Parvati, suggests how the synthesis of the masculine and feminine energies of the universe is the very essence of all creations. The most masculine of Hindu gods, Shiva, is also the father of Ayyappa—a product of the former’s liaison with Mohini (a female avatar of Lord Vishnu). Maheshwar is also deified as Nataraj, the Lord of Dance. Not surprisingly, major dance forms like Kathakali, Chauu, Theyyam have long been considered men’s domain. In fact, dancing was discouraged among girls in respectable families as it was seen as a chief quality of devadasis and prostitutes. However, Dattani exposes the irony that, in contemporary India, classical dance is no longer associated with the male and has in fact been reduced to a means for the other sex to achieve stardom. In several of his works, men are shown as victims of an intolerant society which tries to straighten them up; more so because such girly attributes are often associated with homosexuality.

 
 
 

English Studies Journal, Masculinity, Subverted, Redefined, Mahesh Dattani, ‘effeminate’, ‘voice-over’, Muggy Night, Sahitya Akademi Award, Works of Mahesh Dattani.